Tag Archives: Urizen

Nought loves another as itself,
Nor venerates another so,
Nor is it possible to Thought
A greater than itself to know:

And Father, how can I love you
Or any of my brothers more?
I love you like the little bird
That picks up crumbs around the door.

The Priest sat by and heard the child;
In trembling zeal he seiz’d his hair,
He led him by his little coat,
And all admired the Priestly care.

And standing on the altar high,
Lo what a fiend is here! said he:
One who sets reason up for judge
Of our most holy Mystery.

The weeping child could not be heard,
The weeping parents wept in vain:
They strip’d him to his little shirt,
And bound him in an iron chain,

And burn’d him in a holy place
Where many had been burn’d before;
The weeping parents wept in vain.
Are such thing done on Albion’s shore?

In this poem, Blake presents us with an image of a boy who is martyred for heretical beliefs. During the first stanza, the boy expresses love for the divine spirit within. He venerates himself because he feels God is inside of him. He also acknowledges that he can never fully understand the essence of God, since God is ineffable and exists beyond the grasp of human thought.

The beginning of the second stanza almost sounds like Cordelia speaking to Lear, but then in the last two lines of that stanza, the boy likens himself to a bird picking up crumbs. I see this as a metaphor for people who follow around priests and pick up only the scraps of wisdom that are doled out to them. I suspect that this is what angers the priest.

The boy is then accused of being “One who sets reason up for judge / Of our most holy Mystery.” On one level, this could be representative of the conflict between scientific inquiry and faith-based church doctrine. But it could also be a reference to Blake’s mythological creation, Urizen. In Blake’s mythology, Urizen is the embodiment of conventional reason and law, and correlates to Satan as expressed by Milton.

The boy is then stripped and bound before being burnt, a punishment too often inflicted upon heretics. In the image accompanying the poem, we see the parents weeping before the flames that engulf their child. Blake also includes an image of ivy vines climbing the side of the page. Ivy has a few symbolic interpretations. It can represent the intertwining between humans and the divine; it can symbolize the indestructible aspect of the human soul and consciousness; and finally, because ivy is poisonous, it could be a symbol of either vengeance or the toxic aspect of organized religion.

Blake ends his poem with a question, which I believe he is posing to the reader: “Are such thing done on Albion’s shore?” He is questioning whether such things are still done in England. I think it is a question that is still valid today. Are such things done in any country? Sadly, yes. People are still persecuted, tortured, and killed in some countries based upon their spiritual beliefs. Hopefully we will evolve as a species, and like the boy in this poem, learn to recognize the spark of divine spirit in all human beings.

Pity would be no more,
If we did not make somebody Poor:
And Mercy no more could be,
If all were as happy as we;

And mutual fear brings peace;
Till the selfish loves increase.
Then Cruelty knits a snare,
And spreads his baits with care.

He sits down with holy fears,
And waters the ground with tears:
Then Humility takes its root
Underneath his foot.

Soon spreads the dismal shade
Of Mystery over his head;
And the Catterpillar and Fly,
Feed on the Mystery.

And it bears the fruit of Deceit,
Ruddy and sweet to eat;
And the Raven his nest has made
In its thickest shade.

The Gods of the earth and sea
Sought thro’ Nature to find this Tree
But their search was all in vain:
There grows one in the Human Brain

This is definitely one of the more mystical poems in the Songs of Experience. In Blake’s illustration for this poem, we see Urizen, the supreme god in Blake’s mythological pantheon, struggling to free himself from the bonds that hold him to the earth. I see this as symbolic for the personal struggle that we all face, trying to free ourselves from worldly trappings so we can elevate our consciousness and actualize the divine spirit within us all.

In the first two stanzas, Blake asserts that nothing can exist without its opposite. There can be no good without evil. There must always be a balance in order for things to exist in this universe.

In the third stanza, we see Urizen shedding tears which become the seeds from which grows the Tree of Mystery. Urizen, being the creator of all existence, understands that everything must have its opposite and mourns the lot of humanity, which will eternally grapple with fear, cruelty, and hatred. From Urizen’s tears the roots of the Tree of Mystery grow. The Tree of Mystery is Blake’s equivalent to the Tree of the Knowledge of Good and Evil. The tree bears fruits which are both good and evil, and as we see in the fifth stanza, the fruits of evil are certainly the most tempting.

In the fourth and fifth stanzas, Blake mentions three creatures: catterpillar, fly, and raven. These are symbols for the church and its priests, who feed on the leaves of the Tree of Mystery, who nest and hide within its branches, but have no understanding of the roots, or the hidden aspects. Blake is asserting that following church dogma will ultimately prevent you from discovering the secret to the divinity within you and the mystery of all creation.

I personally find the final stanza in the poem to be the most fascinating. Just like the biblical Tree of Knowledge, Blake’s Tree of Mystery is also hidden. “The Gods of the earth and sea” which he mentions I interpret to be humans, who have dominion over the earth. We have a tendency to seek outside ourselves for the truth, believing that the answers to the ultimate mystery must exist somewhere else. But this is not the case. The Tree of Mystery grows and is hidden within the human subconscious. It is the one place where too many of us fail to look, and hence the search for truth is often in vain.

This poem is a great introduction to Blake’s more complex metaphysical poetry. I encourage you to read it a few times and contemplate it. I’ll definitely be covering Blake’s deeper metaphysical poems once I complete all of the Songs of Experience.